在讓·科克托版本的《美女與野獸》的結(jié)局里，野獸忽然死去，阿弗南盜取寶藏時(shí)被射死變成了野獸的模樣，然后野獸在女主愛的凝視下復(fù)活變成了酷似阿弗南外表的王子。 在這個(gè)奇異的結(jié)局里，男主角事實(shí)上同時(shí)擁有三種外表，一種是野獸，一種是愛戀貝兒的朋友阿弗南，而最后一種是擁有王子身份的阿弗南。 這三種形象似乎滿足了女主角貝兒的想象，強(qiáng)大的野獸，雖然威猛卻孤獨(dú)等待救助。擁有帥氣外表的男子，但不夠聰明缺乏知識(shí)。有權(quán)勢(shì)背景的王子。而事實(shí)上，她也同時(shí)愛著這三種形象或者說(shuō)她映射出三種阿尼姆斯（女性中的男性特征，和阿尼瑪相反）。那么女主角貝兒三種想象的阿尼姆斯就可能是：強(qiáng)有力的野獸、漂亮的情人、有世俗權(quán)力的男子。 這種想象的阿尼姆斯理解為對(duì)外在人格具有補(bǔ)償作用的功能性情結(jié)——它們表現(xiàn)得好像是內(nèi)在的人格，并且展示著一些在外在顯現(xiàn)的意識(shí)人格中所缺少的特征。 從這個(gè)角度來(lái)說(shuō)，由于每個(gè)人容易被另一性別的代表者們的經(jīng)驗(yàn)所影響。當(dāng)女性眾多的阿尼姆斯們共存于一位女性的無(wú)意識(shí)中時(shí)，就導(dǎo)致了女性的情感經(jīng)常處于一種奇怪的麻木和癱瘓中，并誘惑她們脫離與真正的男性交往，而自己編織一種虛幻思想的繭，又或?qū)е屡援a(chǎn)生不安全感、萬(wàn)物皆空的傷感等。 電影中男主角的這三種面貌似乎也是想說(shuō)明這種問(wèn)題。盡管電影仍然是一個(gè)童話的結(jié)局，但當(dāng)女主角望著男子一臉疑惑時(shí)好像又蒙上了一層不同尋常的陰影。她說(shuō)我覺得你好像有點(diǎn)奇怪，你有點(diǎn)像我的一個(gè)朋友。王子的新面孔是她不曾期待的，她甚至有點(diǎn)懷念那頭野獸，并且懷疑這個(gè)酷似阿弗南的王子。但很快她又沉溺在這一個(gè)人也同時(shí)是三個(gè)人的戀情中。而這個(gè)幸福的結(jié)局由此埋下一顆不安穩(wěn)的種子，似乎在貝兒和王子去往另一個(gè)國(guó)度時(shí)將很有可能時(shí)不時(shí)爆發(fā)一些意想不到的潛在危機(jī)。

（微博: http://t.cn/AieTgx2p 主要更新電影方面的評(píng)論和美術(shù)等）

At Cocteau's behest of retaining our childlike sympathy in the preamble, one should enter his surreal realm of this timeless fairy tale with a tabula rasa (purging the classic Disney animation and Bill Condon’s 2017 extravaganza out of our system for a while), and for today’s new audience, a critical prerequisite of suspending one’s disbelief is to lower the expectation of the Beast’s appearance, who is played by a dreamboat Jean Marais under the camouflage of primitive make-up andclunky costumes.

To one’s sheer amazement, what Cocteau and his uncredited co-director René Clément rip-snortingly constructs is an otherworldly, bizarre setting in and around the Beast’s abode, ripe with magic touches like living statues, disembodied hands and invisible forces, which becomes all the more chilling on the strength of its black-and-white quaintness and orotund audio accompaniment, an exalted achievement which one must see with one’s own eyes to induce that astounding impression.

But contrary to the forbidding surroundings and applied with a faintly subversive flourish, the Beast is emphatically portrayed as a sad-eyed, lovelorn gentleman, without brimming with the assumed masculinity and bestiality (smoke is archly deployed here), and totally throws himself on the mercy of Belle (Day), he accords plenary trust in Belle by granting her a week’s away to visit her bedridden father (André), and bestowing her the key to his fortune in case she chooses to defer her return which will result in him dying with a broken heart, offering his sickly capitulation to a beauteous youth which rousingly empowers Belle’s discretion.

However, it is human-looking monsters that should be answerable to Belle’s delay, namely her two the-green-eyed-monster-spurred sisters Félicie (Parély) and Adéla?de (Germon), her inept brother Ludovic (Auclair) and his friend, a wooer of Belle, Avenant (Marais, again), all schemes to do away with the Beast and take their shares in his treasure trove. As expected, human avarice is punished, none other than by the arrow of Roman goddess Diana, then an inexplicable transmogrification comes about which returns a moribund Beast to his human form, aka, the Prince, when Belle falls completely under his spell of inner kindness and devotion which eventually lessens and surmounts his physical unsavoriness, a dream-comes-true of every plain-looking man and ironically, if one changes both Belle and Beast’s sexes, would the yarn's appeal remain as the same? Highly unlikely.

Granted, Cocteau sprays his own magic potion onto the story’s child-friendly prospect, and its ending comes off as both expected and unexpected, what if Belle prefers the rough-diamond Beast to the four-square Prince? A mischievous Cocteau knows the best.

P.S. for music aficionados, there is an opera version composed by Philip Glass in 1994 available which dubs all the dialogue with a more ear-soothing tenor.

referential films: Bill Condon’s BEAUTY AND THE BEAST (2017, 7.1/10),Jean-Pierre Melville’s LES ENFANTS TERRIBLES (1950, 6.6/10); René Clément’s FORBIDDEN GAMES (1952, 8.7/10).

小時(shí)候（大概6、7歲吧）看的一部美女和野獸印象深刻，是一部黑白電影，那時(shí)的電視機(jī)是不是黑白的記不清了，大概是這版，印象中美女很美，服裝更美，故事從美女的父親采了一朵白玫瑰被野獸逮個(gè)正著開始，開始美女不打扮，但有個(gè)騎士模樣的帥哥追求，他忽略兩個(gè)主動(dòng)獻(xiàn)殷勤的少女（好像是美女的姐妹）到野獸的城堡后各種華美的服飾穿起來(lái)才越來(lái)越美，開始追女主的男二也很帥，不過(guò)最后恢復(fù)王子面目的野獸更帥，長(zhǎng)發(fā)的扮相有點(diǎn)像賈寶玉，印象中非常美好的童年回憶。

不愛特效的藝術(shù)家導(dǎo)演，光影就是最好的魔法師。作為影史最杰出的的魔幻片之一，1946版《美女與野獸》所營(yíng)造的已經(jīng)不僅僅是夢(mèng)境般的童話，而是美夢(mèng)成真的絕妙。精心的剪輯讓魔法變成了現(xiàn)實(shí)，充滿童趣的回憶以簡(jiǎn)樸真實(shí)的影像出現(xiàn)在眼前，再次給了成人相信夢(mèng)、愿意夢(mèng)、渴望夢(mèng)、喜歡夢(mèng)的力量。

“孩子們總是相信我們說(shuō)的話，他們對(duì)我們總是完全的忠誠(chéng)，他們相信從花園里采集來(lái)的玫瑰會(huì)將一個(gè)家庭拖入矛盾中，他們相信人獸的手會(huì)冒煙，當(dāng)他殺了一個(gè)受害人時(shí)，會(huì)使野獸感到很羞愧。當(dāng)一個(gè)年輕的少女住在他家里時(shí)，他們相信會(huì)有很多其他簡(jiǎn)單的事發(fā)生。我希望你有一點(diǎn)孩子般的天真，給我們帶來(lái)幸運(yùn)。讓我說(shuō)四個(gè)真正有魔力的字，孩童時(shí)期的芝麻開門——很久以前......”

片頭的開場(chǎng)白所給的提示彌補(bǔ)了影片劇情上的不足之處，例如貝兒與野獸的感情發(fā)展毫無(wú)轉(zhuǎn)折，與其說(shuō)順?biāo)浦鄣共蝗缯f(shuō)木已成舟；或者被詛咒的金鑰匙來(lái)源和王子受詛原因僅僅因不信魔法而一筆帶過(guò)，而貪婪還是信仰導(dǎo)致受詛咒等等都沒有說(shuō)明。然而拿出小時(shí)候讀童話的情感來(lái)看，這些問(wèn)題似乎都迎刃而解：這個(gè)故事是貝兒和王子的，那他們肯定會(huì)漸漸愛上彼此，然后壞人受到懲罰，好人永遠(yuǎn)幸福，這就夠了。所以編劇絲毫沒有解釋為何野獸常常身冒青煙一身傷痕、貝兒為何愛著第一個(gè)向自己求婚的男人卻答應(yīng)了王子的求婚（王子和這個(gè)男人共用一張臉是最難以解釋清的），他僅僅是讓恢復(fù)人形的王子帶著貝兒飛走了，沒錯(cuò)，恢復(fù)人形后的王子帶著貝兒飛回了自己的王國(guó)，而變成了另外一只野獸的男人留在了孤獨(dú)的城堡之中，等待下一個(gè)貪婪人的到來(lái)。

本片最大的看點(diǎn)就是依靠光影和化妝營(yíng)造出人間童話的氣氛，戲劇式的肢體表演和臺(tái)詞在精美的服飾和背景襯托下輕易將觀眾拉回了很久以前：晚風(fēng)浮起走廊上的窗簾，脆弱的女孩惶恐的迎著月光一步步深入城堡，那時(shí)的她還不知道，在愛情開始的時(shí)候，人們總是這樣驚慌。